Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script.

I'm glad to announce a long term project I've been ask to shoot in Alessandria for ConfAgricoltura. Curated by Victor de Circasia, professor at Royal Art College in London. The assignment will be focused around the concept of Human Geography as a guideline for a new idea of Landscape.

Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script.

Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script.

Sculptures by Alessandro Rizzi is a book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script, he plays with the fragments and cracks of what could be a historic moment for the struggle of the black community but that does not appear to be so: the sculptures at play in this event are part of a larger scenario that provides for their presence and contribution as actors both united and alone. This kind of structural weakness of the human element does not manifest in what is portrayed in the photographs which always appears to be plastic and structured, but instead lives within this visual paradox, as testimony to the distance in the union, and a fragility, despite the solidity, structure, and plasticity within each one of us.

Abiding by the facts, we can affirm that Sculptures is in all respects an instant book whose photographs were shot over the timespan of a few hours in Washington D.C. on December 14, 2014, and more precisely, during the civil rights protests that took place in the capital after the fatal shooting and civil unrest originating in Ferguson. Rizzi gives back a sharp and paradigmatic work on American society as a whole, and on the importance of a political demonstration that is a sign of the times and is coherent to its prescribed script, he plays with the fragments and cracks of what could be a historic moment for the struggle of the black community but that does not appear to be so: the sculptures at play in this event are part of a larger scenario that provides for their presence and contribution as actors both united and alone. This kind of structural weakness of the human element does not manifest in what is portrayed in the photographs which always appears to be plastic and structured, but instead lives within this visual paradox, as testimony to the distance in the union, and a fragility, despite the solidity, structure, and plasticity within each one of us.

Planar is an organization based in Bari (IT). Planar’s research focuses on the study of the relationship between the main factors that determine the contemporaneity of the global landscape in which we live, in its material and immaterial dimensions. Planar inquires, through visual art tools, the relationships between technological evolution, authority, landscape transformations and daily life. Throughout different activities and devices including editorial and curatorial projects, Planar aims to create an environment for discussion, debate, research and education. In 2016 was opened Planar Gallery, a storefront with printing and publishing lab. Inside Planar Gallery is also placed the publishing house Planar Books.

“KALEID editions is an impressive initiative to exhibit and distribute a broad selection of artist’s publications – providing a new platform for the flourishing genre of self-published work of European based visual artists and graphic designers.” David Senior, Artists’ Books Bibliographer, MoMA"

KALEID editions represented European-based artists who do books between 2009-2017; disseminating an annual curated selection of artists’ books, for leading arts institutions supporting academic research and future public access.

The founder of KALEID editions, Victoria Browne has since established an academic framework to foster publishing as artistic practice at Kunsthøgskolen i Oslo, Norway’s leading National Academy of the Arts.

KALEID editions distributed artists’ books to the following institutions and universities:

THE MARCH OF WASHINGTON THROUGHT THE LENS OF ALESSANDRO RIZZI.

Going through the pages of Sculptures my tactile memory went all the way back in time and it felt like hearing my mother telling me “don’t put your fingers on the pictures because you’ll spoil them”. A recommendation that is well rooted in the habits of those who printed photos on paper, despite the coming of the digital dark age, almost fulfilling Vinton Cerf’s omen. A book, an instant book, portraying the story of the march on Washington and of the thousands of people gathering to protest against police violence after the deaths of Michael Brown in Ferguson (Hands Up, Don’t shoot) and Eric Garner in New York (I can’t breathe) through the lens of a European, Italian photographer, Alessandro Rizzi......

INTERVIEW:

GR: “Can a love extend until touching the deepest ropes bonding society? And can a personal story become the access to the heart of civil rights?” Two questions you asked yourself before leaving for Washington. In this project, with respect to your past works, for the first time you have worked on two levels: one is emotional and intimate, the other is social. Tell me all about it.

AR: Both in questions and answers the two levels are always intertwined. Questions were to me the keys of all the reasons that pushed me to leave, even if the emotional level has played a fundamental role.

GR: Why?

AR: From a conceptual point of view this project condenses in one day only – 8 hours – a huge work I made about myself, with the idea of what I could do and that I had to be honest to photograph something that...

Above and Beyond Special Edition Portfolio Published in occasion of the Venice Biennale 2015. The signed print is from the series "Havana" by the Artist from which image where part. Prints are signed and numbered in pencil on reverse.